初二的早晨，我按照约定时间来到上车点。远远就看见一辆白色轿车停在路边，一位中年女士从驾驶座下来，笑着朝我招手：“过年好呀！”她一边热情地与我寒暄，一边主动打开后备箱，帮我把年货往里放。“这车主真周到，顺风车果然没选错。”我心里暗暗庆幸。
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There’s often an undercurrent of existential fatigue in games that look back at their legacy. Dark Souls III’s dying kingdom, Metal Gear Solid 4’s decrepit Snake. So when Capcom showed us an ageing Leon Kennedy entering the ruins of the police station that marked the start of his journey from rookie cop to hardened veteran, it felt tinged with ennui as much as nostalgia. That self-reflective swansong for this 30-year series may still happen one day, but Requiem isn’t it. Even at its dourest and most pensive, this is less a song for the dead, more a knees-up in honour of the rocket launchers and typewriters that came before. Leon may be getting on a bit, but this is Capcom as energised, devious and goofy as ever.
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